Let's talk Miles Davis

[jazdoc]

Someone recently revived this thread on Steve Hoffman's forum:

http://forums.stevehoffman.tv/threads/the-miles-davis-album-by-album-thread.137423/

Might be worth following...

 

[DaveyF]

There's some great stuff there, jazz. Thanks for the post.
Might be nice to have some of that info over on this forum..

 

[NorthStar]

Well, we got that thread's link now. :b

 

[hvbias]

Miles Davis had a long and fruitful career. Many great titles to choose from. I have recently decided to listen to all of his LP's. Interestingly, I am finding that I am not really that enthused by his fusion stuff--- starting with 'In a silent way". OTOH, I am listening again to "Someday my Prince will come"....All I can say about this LP is WOW!! I'm listening to an early "six-eye" stereo pressing and I suspect there are better one's out there. ( The MFSL comes to mind, although I do NOT own it).
I would like to know what others think of his various albums....which pressings are favored, which label ( Prestige, Blue Note, Columbia...none of these, etc), which title is your favorite, etc.
So, to our jazz experts, I say...Let's talk Miles Davis

Davey I grabbed a nice condition original 6-eye stereo pressing of Someday My Prince Will Come... you are right wow is the right word to describe it. I used to have the Analogue Productions 45 rpm reissue, the treble on that one with my Zyx cart was not that pleasant. I think we may need to start a vintage jazz LP enablers thread... sort of like Bill's one with 70s rock

 

[DaveyF]

Davey I grabbed a nice condition original 6-eye stereo pressing of Someday My Prince Will Come... you are right wow is the right word to describe it. I used to have the Analogue Productions 45 rpm reissue, the treble on that one with my Zyx cart was not that pleasant. I think we may need to start a vintage jazz LP enablers thread... sort of like Bill's one with 70s rock

I just keep on shaking my head after listening to this LP. Anyone, have a copy on MFSL? How does it compare?

 

[jazdoc]

I just keep on shaking my head after listening to this LP. Anyone, have a copy on MFSL? How does it compare?

Davey,

Although not a critical favorite, this is one of my favorite Miles Davis records. I have owned multiple reissues, including the MSFL, as well as first pressing stereo and mono 6-eyes. To me, the originals sound best. I slightly prefer the mono, especially for the title track, but wouldn't pay a big premium for the privilege.

 

[marty]

The best perspective on Miles Davis comes from the greatest jazz educator of the 21st century- Wynton Marsalis. His Sirious radio broadcasts every Saturday are a national treasure. He usually does a deep dive into 2 artists at any one time, comparing and contrasting them. (i.e Ella ("sits atop the jazz vocal universe") vs Billy Holiday ("like adding sweet to sour- it enhances the flavor of the both") ; Johnny Hodges ("A city slicker from Boston") vs Cannonball Adderley ("a farm boy from Florida"). But every once in a while, he will do a show dedicated to one artist, as he has done with Louis Armstrong and Miles Davis. Wynton has a very schizophrenic perspective of Miles. He obviously adores him for founding the Cool Jazz movement, but also has some deep criticism of him because he "sold out" to commercial interests which was the whole raison d'erte behind his jazz fusion stuff. Wynton thought it was pathetic and severely degraded his stature as a groundbreaking artist. But Miles was not alone in trying to enhance his popularity be re-inventing himself. Ella, at the end of her career, starting singing top 40 material because she was surprisingly insecure and craved popular attention long past when she needed to prove anything to anybody. When she did that stuff, it is almost sad to listen to. Yet Wynton never held her feet to the fire like he has with Miles. Go figure. But there is no question Wynton thinks Miles was special, not only for his musical gifts but for the legions of musicians he influenced, including himself. I think Wynton would have preferred that Miles' jazz fusion period was short-lived and quickly forgotten.

 

[cjfrbw]

That "deep church of jazz" condemnation of Miles is common, but I personally am grateful that he sought new audiences and was willing to re-invent his message. He wanted to play to as many as people as possible, not just a handful of experts in a night spot, so kill him. Oops, he's already dead!

 

[Cascais]

My preferred track of this great album (considered by some people as the more accessible of his recordings) is by far Saeta. This will help anyone to understand Miles and Spain.

Agree about Saeta being the best track of an album that I find disappointing overall. I think that the adaptation of the adagio of Rodrigo's great Concierto de Aranjuez for guitar and orchestra was ill-conceived. However the practice of using classical music in jazz or popular music is seldom successful generally in my opinion.

 

[LL21]

Agree about Saeta being the best track of an album that I find disappointing overall. I think that the adaptation of the adagio of Rodrigo's great Concierto de Aranjuez for guitar and orchestra was ill-conceived. However the practice of using classical music in jazz or popular music is seldom successful generally in my opinion.

I have to admit I do like Jacques Loussier's jazz works of Bach.

 

[edorr]

Agree about Saeta being the best track of an album that I find disappointing overall. I think that the adaptation of the adagio of Rodrigo's great Concierto de Aranjuez for guitar and orchestra was ill-conceived. However the practice of using classical music in jazz or popular music is seldom successful generally in my opinion.

Check out two Jazz versions of "Concierto de Aranjuez" on Chick Corea's Rendez Vous in NYC. One with Bobby McFerrin, other with Gonzalo Rubalcaba. Both phenomenal, in particular the latter. Chet Baker with Paul Desmonds version is also not too shabby.

 

[Phelonious Ponk]

The best perspective on Miles Davis comes from the greatest jazz educator of the 21st century- Wynton Marsalis. His Sirious radio broadcasts every Saturday are a national treasure. He usually does a deep dive into 2 artists at any one time, comparing and contrasting them. (i.e Ella ("sits atop the jazz vocal universe") vs Billy Holiday ("like adding sweet to sour- it enhances the flavor of the both") ; Johnny Hodges ("A city slicker from Boston") vs Cannonball Adderley ("a farm boy from Florida"). But every once in a while, he will do a show dedicated to one artist, as he has done with Louis Armstrong and Miles Davis. Wynton has a very schizophrenic perspective of Miles. He obviously adores him for founding the Cool Jazz movement, but also has some deep criticism of him because he "sold out" to commercial interests which was the whole raison d'erte behind his jazz fusion stuff. Wynton thought it was pathetic and severely degraded his stature as a groundbreaking artist. But Miles was not alone in trying to enhance his popularity be re-inventing himself. Ella, at the end of her career, starting singing top 40 material because she was surprisingly insecure and craved popular attention long past when she needed to prove anything to anybody. When she did that stuff, it is almost sad to listen to. Yet Wynton never held her feet to the fire like he has with Miles. Go figure. But there is no question Wynton thinks Miles was special, not only for his musical gifts but for the legions of musicians he influenced, including himself. I think Wynton would have preferred that Miles' jazz fusion period was short-lived and quickly forgotten.

I couldn't disagree more with Marsalis' view of Miles' fusion period. That music didn't hit the ground as "accessible," or "commercial" by the wildest stretch of the imagination. It atonal, impressionistic, raw at times; it was much harder to listen to and understand than the Miles of the late 50s/early 60s. I don't think it was a cheap shot at a larger audience at all. I didn't like it....for years. It's still not my favorite Miles period. But I see it for what it is -- classic Miles, stirring the pot, breaking the rules, innovating and experimenting and pushing the envelope. And not giving a damn what a grumpy, conservative musicologist like Marsalis - or anyone else for that matter - thinks.

Tim

 

[Ronm1]

Check out two Jazz versions of "Concierto de Aranjuez" shabby.

Jim Hall has one on the appropriately named 'Concierto'

 

[Ronm1]

I completely agree with you Tim on the fusion issue with Marsalis.
IASW is one of my fav's from Miles. The complete metal box is a joy IMHO.

 

[edorr]

Jim Hall has one on the appropriately named 'Concierto'

Check this one out. Does not get any better than that. Rodriguez would be proud.

http://www.youtube.com/watch?v=VevDPwEZIQ4

 

[andy_c]

Anybody interested in finding out more about Miles as a person might enjoy reading his autobiography. I got a copy for Christmas a couple of years ago and enjoyed it immensely. I passed it along to my neighbor two doors down, who's a very good jazz alto player. He's since passed it along to a college friend, a tenor player, when he came out to visit.

 

[Cascais]

I have to admit I do like Jacques Loussier's jazz works of Bach. View attachment 15662

Agree, Loussier's versions of Bach (and some other composers, like Satie) are great but different from lifting a work in its entirety, like the adagio. Loussier is a Bach scholar, his versions involve improvisation which make them different enough from the originals, especially with the prominent addition of bass and drums, and Bach's music lends itself to jazz improvisation. Bach swings.

 

[Cascais]

Check out two Jazz versions of "Concierto de Aranjuez" on Chick Corea's Rendez Vous in NYC. One with Bobby McFerrin, other with Gonzalo Rubalcaba. Both phenomenal, in particular the latter. Chet Baker with Paul Desmonds version is also not too shabby.

You can't keep a good tune down, but I'll take Carlos Bonell and the Montreal Symphony Orchestra. One of the problems with the adagio from Rodrigo's concierto is that it runs the risk of becoming hackneyed when played out of context, too familiar. Soon it will be used in perfume ads, if not already. It is a wonderful, soaring, oh so Spanish tune, evocative of Aranjuez. I'd rather keep it that way so avoid jazz versions, or perfume ads.

 

[Ronm1]

Check this one out. Does not get any better than that. Rodriguez would be proud.

http://www.youtube.com/watch?v=VevDPwEZIQ4

It's VG but I still prefer Jim Hall's and the MJQ's takes. The last one was the first time I heard a jazz take on the piece and I still enjoy it quite a bit. Something about that first one, with a # of things actually.